420 Dive Log Australasia OCTOBER 2026

An ambient-light shot of this beautiful pale octopus, taken at 10 metres using a custom white balance. Only a few minor adjustments were needed in post-production to fine-tune the colours.

The animal and avoids producing little more than an identification photograph. The background is part of the decision. A good subject can disappear against cluttered weed or rock, while a slight change of angle may separate it against open water or a cleaner section of reef. I also remain aware of my fins and the bottom. Once sand or silt has been disturbed, no camera setting or strobe position can put it back. Waiting for the water to clear is usually more productive than continuing to photograph through a cloud of particles. At the right depth, I stabilise my body and raise the camera slowly. Most of my underwater photographs are taken one-handed, leaving the other hand free and helping me respond when the animal changes direction. Very small animals require more precision. Where the bottom permits, I may steady the rig against a

stable, non-living surface and hold the tray with both hands. I never use living coral or an animal’s habitat as a support. Getting close does not mean getting as close as physically possible. It means finding the closest position the animal will comfortably accept, reaching it with minimal disturbance and remaining calm enough to recognise when behaviour, composition and light come together. The subject ultimately decides whether the encounter continues. Making the TG work underwater Once I am close enough and stable, the camera settings begin to matter. No single configuration works perfectly for every situation. The settings I use have developed through experimentation, mistakes and learning how the TG-6 responds to different water, light and subjects.

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DIVE LOG Australasia #420 October’ 26

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